I was in Baltimore the last time it burned. That was back in April 1968, after the assassination of Martin Luther King, Jr. Washington also burned at that time.
There was something surreal about the mood of the riots in both cities. The anger from African-American rioters seemed to be directed wholly against property.

I walked among the rioters, up 14th Street to the U Street Corridor, the commercial hub of the Shaw area of Washington. Later that day, I drove around Baltimore. They seemed to me to be an uncommonly respectful pair of riots.

In Washington, young African-American men directed me where to go safely; one looter, coming out of a shop on 14th and F Street, asked me if I needed anything, as though he were the proprietor.

Over the decades, I have wondered about those riots. I think they were indeed riots of anger as well as sorrow. King, the great civil-rights leader, had been murdered, and already people knew that there would not be another like him.

For days I drove around Baltimore, where I lived at the time, and Washington, where troops were patrolling and curfews were in place. With a large “PRESS” sign taped on my car’s windshield, I was allowed to drive around both cities, and I watched them come to grips with reality. A Washington Post writer described how a white motorist and a black motorist had waved each other through an intersection, both feeling they were doing something significant.

But Washington is not Baltimore. And, at that time, Baltimore was as segregated as any Southern city.

The proprietor of a bar near The Baltimore News-American, the Hearst newspaper where I worked, would shoo away blacks with this lie, “This is a private club and I can’t serve you, but I can sell you a bottle to go.”

I wanted to challenge this, and urged a black friend on the newspaper, Lee Lassiter, to come with me and make a stand. He averred, not because he was lacking in courage, but because he was fighting another battle over bars. Lassiter and other activists were trying to restrict the spread of cheap bars in the ghetto, where licenses were indiscriminately issued by a white board to white businessmen.

Unlike Washington, which, in some ways, was a more secure community and where there was certain amount of integration, the whites in Baltimore took little interest in the blacks. There was no sense that they shared a city.

Baltimore’s politics were white; its sensibilities were white; and it was comfortably assumed that in the profusion of row houses, there were happy blacks, living a happy parallel life -- although that term was not used. Not true then, and not true now.

This is a subjective comment, but I have always felt there is a kind of special dejection in the Baltimore ghetto.

While there was manufacturing, steel and shipbuilding and a car plant in Baltimore, guaranteeing good union jobs, there were pockets of prosperity. As these jobs faded in Baltimore, and other American cities, so did the hope for a route to the middle class for those in the ghetto.

Baltimore’s police – who probably felt the effect in their families, if not in their own aspirations, of the end of industrial prosperity -- took out their frustrations on those who had even minor malefactions.

Men in uniform easily degenerate into bullies. I saw this in London. When a policeman and a suspect face off, after the policeman is sure that he is not facing an ambush, he has absolute power over the suspect. It is an intrinsically ugly moment: When the handcuffs click, justice and liberty are at bay. Later in court, or through a civilian review, those things may be re-established. But when the suspect is under lock and key, the police power is absolute -- and it is absolutely corrupting.

Police officers go over the line often, and I have seen this all over the world. Race worsens things, but it is not a necessary ingredient.

It is sad for me that, 47 years later, Baltimore should have been torched by a mob. It is sad, too, that things in the row houses of Baltimore are as bad as ever, and that the mob is still the only voice black Baltimoreans think they have.

"Shippwrekked (BR15-108'') (acrylic on fabric), by Brent Ridge, in show "Liz Gargas and Brent Ridge,'' at the New Art Center, Newton, Mass., March 4-April 10. The gallery says that Mr. Ridge "operates in a land of abstraction rooted in appropriation, landscape, and post-industrial aesthetics''

"Smoke" by Lisa Oppenheim

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"The parody trailer by comedy network Above Average explores a world in which the dedicated Spotlight team finishes their work on sexual abuse in the Catholic church and investigates what else is wrong with Boston: everything."

Newport

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson Siebel, at the Wood Museum, Springfield, Mass through July 10, 2016

Her work features 343 portraits, one for every New York City firefighter lost in the attacks on the World Trade Center. The images are along a 21-foot-long wall, allowing visitors to come face to face with men who made a living out of risking their own in order to save others.

"Saturday, March 21 (1965). Afternoon. Taken on my arrival in Selma {Ala, at the Brown Chapel area," by JAMES H. BARKER

"Saturday, March 21 {1965}. Afternoon. Taken on my arrival in Selma {Ala.}, at the Brown Chapel area," by JAMES H. BARKER, in the show "Through the Lens of History: Selma & Civil Rights,'' Grand Circle Gallery, Boston, through January.

"Consumable Sugarhouse,''

"Consumable Sugarhouse,'' in Norwich, Vt.

“A sap run is the sweet good-bye of winter”

"Window 60 Autumn,'' by Maira Reinbergs

"Window 60 Autumn,'' by Maira Reinbergs in the "Color Passages'' show at ArtProv gallery, Providence, through Feb. 17.

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata"

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata,'' at Chandler Gallery, Cambridge, Mass., through March 11.

An arrogant plutocrat for the masses; bees imperiled

How curious that middle- and lower-income Americans who feel with some justification that they have been treated with disdain by an increasingly arrogant and selfish plutocracy turn for leadership to a sleazy, arrogant and narcissistic member of the plutocracy.

"Frog Prince,'' by MAXFIELD PARRISH, at the show "The Power of Print,'' at the Currier Museum of Art, Manchester, N.H., through Jan. 10. Mr Parrish did much of his work in New England at the artists' colony in Cornish, N.H.

"Whale's Jaw, Dogtown,''

"Whale's Jaw, Dogtown,'' from the archives of the Cape Ann Museum, in Gloucester.

Mornings in Little Compton

by Lydia Davison Whitcomb

Mornings in Little Compton

by Lydia Davison Whitcomb

Colored Stone History

by Lydia Davison Whitcomb

"Unihemispheric Existence''

"Unihemispheric Existence'' (detail) (steel, wood, gallery wall), by WILSON HARDING LAWRENCE, in the show "Nuanced: open-endedness, capaciousness and other provocative conditions of making,'' at the Dedee Shattuck Gallery, Westport, Mass., through

"The Market Is a Snake,'' by MICHAEL YEFKO, in the show "Further on Down the Yellow Brick Road,'' at Hera Gallery, in Wakefield, R.I., through June 20. In it he explores "temporal aspects of geometry.''

"Physicality'' (photography, oil, narrative text and resin on panel), by SHERRY KARVER, in her show "Objects of Affection,'' at Lanoue Gallery, Boston, through Oct. 31.

"Dream Work of Thomas Street''

(acrylic on panel), by SHAWN KENNEY

"Karl with Honeybears"

"Karl with Honeybears'' (oil on canvas), by DAVID PETTIBONE, at the Corey Daniels Gallery,

"smoke"

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"Elevation'' (acryllic on canvas), by Diane Novetsky, in her show 'EARTHSHIFTER

"Nero''

"Nero'' (Marquina marble), by PAUL BLOCH

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward,'' by JEFFREY MARSHALL, in the show "Katrina Then and Now: Artists as Witness,'' through Oct. 10, at Gerald Cantor Art Gallery, College of the Holy Cross, Worcester.

"Siberia Imagined and Reimagined"

Photo in Krasnoskamensk, Russia, March 2006, by SERGEY MAXIMISHIN, in the show "Siberia Imagined and Reimagined,'' at the Museum of Russian Icons, Clinton, Mass., through Jan. 10.

"Arcology'' (detail; gouache and Lascaux acrylics on archival papers), by Ilona Anderson, in her show "Arcology,'' at Kingston Gallery, Boston.

"Resonance: book in time II''

"Resonance: book in time II'' show at Brickbottom Gallery, Somerville, Mass., Dec. 6-Jan. 16. It's a collection of individual and collaborative artists' books by Ann Forbush, Ania Gilmore and Annie Zeybekoglu.

"Civil Rights Marchers Walking from Selma to Montgomery, Alabama, on Monday, March 23, 1965,'' photo by JAMES BARKER, in the show "Through the Lens of History: Selma & Civil Rights at the Grand Circle Gallery,'' Boston, through January.